Richard Ernst Eurich (1903 - 1992)

1945:

Offered a private commission which led to several others after the war

Suddenly, when I was still in uniform I got a telegram saying a Colonel Astor from The Times wanted to see me. At his London office he said, 'The Old Etonians very much want to have a painting made. You know . . . that recently King George VI knighted the Provost of Eton on the chapel steps? And we rather thought that we would like a painting of this performance. I’m sorry that you weren’t there and we didn’t think of it before. But we wondered whether you could do it.

I said, 'Yes, well certainly it would be all right. And what sort of facilities could be given to me?’ And he said ‘Well, you can go down to Eton. I will give you a note to the provost and he will be awfully nice to you - that’s Sir Henry Marten.’ And I discovered that he was being knighted because he was the tutor to our present Queen, who was then Princess Elizabeth. He was very nice to me. And he showed me the windows where I could go up and get the best view to make drawings which I have still. But of course I had to do a lot from imagination.

8th May 1945:

VE Day - Victory in Europe - the end of the war with Germany.

2nd Sep 1945:

End of the war with Japan.

1st Jan 1946:

1 January

Painting Eton College picture (40x50) Knighting of the Provost by the King on the chapel steps. The architecture has occupied me for 2 months. Started on the statue today.

1st Jan 1946:

1^st of a dozen lessons to the Cameron boys at Butts Ash.

2nd Jan 1946:

Cheque arrives for 12 gns from BBC for his talk in November on the  Northern Programme for the series”Born and Bred”.

Painting all day . . . very cold in outside studio.

3rd Jan 1946:

Vivien Cutting and Mavis went into Southampton to shop, but found them quite denuded. There seems to be nothing to buy at all.

3rd Jan 1946:

Painting the figures in Eton picture

so now have a couple of months of hard labour in front of me.

4th Jan 1946:

Painting in the morning. In the afternoon made a start making Crispin’s ERF lorry (all wood). We differed a great deal as to how it should be made! Which makes progress somewhat slow.

5th Jan 1946:

In the afternoon went on with the lorry, but didn’t get far. We first tried making mudguards from coffee tins and found it unsatisfactory. So then steamed some very thin 3-ply and will hope for the best.

5th Jan 1946:

Cracknore Hard to see shipping

3 aircraft carriers, a large American liner and Île de France etc

5th Jan 1946:

Eton painting

Started the figures below the chapel, they are going to be a terrific job.

12th Jan 1946:

Finished making a wooden ERF lorry for Crispin. Made a trailer for it the next day.

12th Jan 1946:

Eton painting

put in the boys hanging on to the railings round the statue.

[unknown date]:

Eton painting

I introduced quite a number of humorous things in it, like a small boy with a catapult in the front row, for instance, who was being restrained by some other boys, and one or two Etonian hats that were being knocked off. None of this was objected to, I’m very glad to say, by the officials or Royalty.

17th Jan 1946:

Stopped at Eton to look at my subject. Mavis remarked that it looked ‘older’ than in my painting. I feel this too. The job of getting the old weathered feeling from memory is difficult. Perhaps I have got it a bit on the hot side.

17th Jan 1946:

Taking Crispin back to St George’s.

21st Jan 1946:

Reading ‘The Small Back Room’ by Nigel Balchin.

22nd Jan 1946:

Mavis to Dibden as she is the Welfare Officer for the Landgirls.

Crispin’s letter: has settled down. The boys liked his lorry and he gave a magic lantern show.

22nd Jan 1946:

Sir Henry Marten Provost of Eton ready for a sitting 

23rd Jan 1946:

New Penguin books on Pasmore and Burra came.

I am sorry that Clive Bell wrote on Pasmore, it is shockingly written and stupid throughout. One or two of the paintings are splendid.

John Rothenstein writes a very good foreword on Burra. I think some of these paintings are magnificent, and others full of mannerisms and cheapness. But he certainly is a remarkable chap.

29th Jan 1946:

Depressed, as the perspective in the Eton picture appears incurably wrong, partly owing to the crushing together of the actual perspective. The large uninteresting space in the foreground looks like being troublesome too.

30th Jan 1946:

Letter from Kenneth Harrison, Don of King's College Cambridge asking me to go and paint for him 2 moderate size pictures in the Summer for 400gns!

These funny surprises always get under my ribs. I still can’t understand anyone wanting to part with filthy lucre for my paintings, particularly on such a scale.

31st Jan 1946:

Oliver Warner at the Admiralty asks him to see him about a commission to do “The Painted Hall” at Greenwich.

I feel now that I shall have to refuse this commission.

Thought of another painting I would like to do “The Man with a Sword” full-length nude.

5th Feb 1946:

The garden needs some thought.

The Food crisis in the world seems to call for more effort than hitherto, and yet people don’t seem to be making it.

5th Feb 1946:

Another letter from K. Harrison saying if I wanted to spread myself he might go to 500 gns!”

9th Feb 1946:

Caroline’s 4^th birthday tea with 4 other children.

I found afterwards that Mavis had been balancing lighted candles on her upper lip to amuse the kids!

10th Feb 1946:

A fox has got two of our hens, curse it!

11th Feb 1946:

Letter from Crispin

. . . he enclosed some funny drawings for Caroline. And a splendid one of two boys with the parts of a lorry in a field, hens and garage and trees etc. all most convincing. It is an illustration to a story we are writing.

19th Feb 1946:

To Eton - boys just coming out of chapel and the provost still having breakfast

Couple of hours working at windows of upper school. Saw hoods and cassocks for colour and made a sketch of the provost himself.

21st Feb 1946:

Painting foreground of Eton picture. This space is difficult to fill with nothing but dull colour and texture.

22nd Feb 1946:

Started painting the figures on the chapel steps, starting at the top. It seems almost impossible to make portraits from such tiny photographs. It looks as though Indian Red will just about meet the requirements of the cassocks against the grey stone.

1st Mar 1946:

Got down to working on the King in the Eton picture. Got in a mess with it.

3rd Mar 1946:

got into a mess trying to portray the Provost. Can’t get a likeness.

4th Mar 1946:

Anniversary of poor little Joanna’s death. Caroline still talks about her and it is very difficult to know what to say to her questions.

11th Mar 1946:

150 at the meeting in Hythe, many socialist gains. This meeting certainly showed a keen spirit which has never been before.

11th Mar 1946:

Working hard all day, it is going to be a race against time.

15th Mar 1946:

Went to see Constable show

I thought ‘Salisbury Cathedral from the Close’ really wonderful. I used to think it one of his failures.

Went to see Peter Grimes

. . . rather surprised at a grindstone being used as a capstan! Peter Pears singing magnificently.

16th Mar 1946:

Ensor show at National Gallery

. . . disappointing. He seems to have no constructive power. The paintings are also in very poor condition too.

Old Masters

The Death of Procris as good as ever, and Jan Steen knocks Vermeer into a cocked hat. De Hooch so good also. The St Giles picture still one of my favourites.

17th Mar 1946:

Called on Devas. Moyniham came in too.

18th Mar 1946:

'Cliffords Tower' sold at NEAC show

. . . thus upholding my record of selling something at every show there since I was elected member.

19th Mar 1946:

Got into a hell of a mess with painting the buttresses of Eton chapel. In fact the whole picture looks rather a mess today.

22nd Mar 1946:

Today decided to say ‘Finis’ to the Eton picture after six months of hard work

24th Mar 1946:

Painting seascape of storm breaking over a fishing village.

28th Mar 1946:

Painting in the morning on a 16x20 landscape (evening) begun some time ago.

31st Mar 1946:

Had a private view to a few neighbours of the Eton picture. Mrs Tetley said:

. . . and did you do it all yourself? !

1st Apr 1946:

Left Landscape with Barge to dry a bit.

Started again on Elephant picture.

Making drastic alterations, simplifying.

I find I may be too much occupied with technical problems and must broaden out. Try to get the feeling of wonder, how else can one expect to move a beholder if not moved oneself?

3rd Apr 1946:

Up to London by car

with the Eton picture on top, frame and all!

25th Apr 1946:

At the RA

The Eton picture well hung, but as usual looks small and spotty.

26th Apr 1946:

Electing ARAs.

I was amused at Rushbury standing over us ‘reds’, saying we couldn’t vote for Bawden. “He’ll never send any work in. Stanley was the same, and he pissed on us at the first opportunity."  

Queen Charlotte looked gravely down.

9th May 1946:

Richard had been persistently unwell for some time.

. . . [Dr Brierly] came today and had a good look at me. He seemed to think it was either my lungs or teeth or both. So I am to be x-rayed.

9th May 1946:

Started painting Escort-carrier with Rainbow (16x20) for George Barnes

10th May 1946:

Vincent Massey liked the Eton picture. Asks Richard

to paint Balliol College Oxford with all the men and women from the services who came and had short studies there during the War. We agreed on the price of £300 without frame.

13th May 1946:

x-rayed at Lyndhurst. Dr. Brierly thinks teeth had better come out.

17th May 1946:

Eton picture reproduced in this week’s ‘Listener’.

25th May 1946:

Camille Pisarro’s letters to his son

How I admire him at the age of 56 championing Seurat and changing his own style, and losing friends because of it. But he was right.

26th May 1946:

Started “The Man with a Sword” (50x30)

It is going to be a tough nut. Caroline asked if it was a Cave Man!

28th May 1946:

Mavis to London for meeting at Albert Hall of delegates for Women’s Institutes . . .  very good, not too parochial. The Queen was there.

1st Jun 1946:

Mayor of Westminster rang to ask him to do a painting of Churchill being given the freedom of the city of Westminster!

What next?! It doesn’t look a very interesting subject or setting, but something might well be made of it, and if well paid, may help to keep things going. (£400-£500!)

6th Jun 1946:

At Green & Stone (framer)

Found the missing ‘Abbotsbury’ (40x40) in their cellar. Took it to Nan Kivell, much damaged by war time flooding.

6th Jun 1946:

To see the Mayor of Westminster

The ceremony took place at Church House where UNO is sitting It might be interesting as it was by artificial light, warm and honey-coloured.

To Green and Stone asking them to carve some frames for me.

11th Jun 1946:

Crispin got 1st and 2nd prizes in an inter schools art exhibition.

One of the Queen Mary seen from the air and another of a lorry with a soldier standing by it. Another of an ERF lorry by a garage, all of them most excellent.’

11th Jun 1946:

Green and Stones for some old pictures and frames. Old one of Weymouth harbour (34x31) still looks good but I think I will repaint it.

14th Jun 1946:

Col. Astor approves Eton picture . . . how much do they owe?

I am writing for £500 to include frame and all expenses. I hope they won’t baulk at it.

20th Jun 1946:

Caroline has whooping cough

25th Jun 1946:

French Show at Lefevre Gallery, London. Met Pasmore there.

He likes the fluffy Renoir landscape and Delacroix. A magnificent Cezanne landscape and tulips in a vase. Two little Seurats which were excellent.

25th Jun 1946:

To Cambridge to look round the Colleges with K. Harrison and met Provost (he with the stick in Eton Picture)

28th Jun 1946:

Started 1^st Cambridge subject . . .   all on the spot in Cambridge it seems. [King's Cambridge Looking Eastwards from the Backs and Trinity College, The Wren Library and River Cam]

2nd Jul 1946:

. . . got down to the 2^nd subject on the river which has been worrying me for some time. I think I have solved the problem by blending 2 view points which will bring it into a longways canvas instead of an upright, which I didn’t want to do.
[King's Cambridge Looking Eastwards from the Backs and Trinity College, The Wren Library and River Cam]

3rd Jul 1946:

In Cambridge

A terrific thunderstorm late at night. A wonderful sight to see King's Chapel silhouetted against the sky with lightning, half the chapel being dimly lit by the lamp at the Porter’s Lodge streaking across the lawn. It only needed a mad organist playing some fantastic fugue by Liszt to complete the melodrama.’

3rd Jul 1946:

a large swan came buzzing over down on to the water in front of my subject this morning It was perfect, such a swoop and curve and stretch of wings.

6th Jul 1946:

To London to deliver framed escort carrier picture to G Barnes at the BBC.

24th Jul 1946:

[Two days] drawing at Oxford for Balliol picture. A hasty drawing of Lindsay (master of Balliol)

26th Jul 1946:

Motoring back from Balliol

Storms seem to be about, but did not pass through any myself. Later heard disastrous damage done to crops. The fates seem to be against food production in the most vital year of all time.

19th Sep 1946:

Staying with Kenneth Harrison at Cambridge for more drawing

23rd Sep 1946:

Motored back to London, having had a hairbreadth escape from a car coming towards me which seemed to be quite out of control.

First to Redfern with two unsatisfactory paintings to send to the NEAC. [Winter Seascape, Landscape Study]

They say they sent a painting for UNESCO, but I can’t think which one it is . . . [Hampshire Coastal Scene (1937)]

Then to Green and Stone to collect frames and stretchers. The new carrier on top of the car took these very well.

Saw many smashes and careless driving on the way back home. No wonder there are so many fatalities on the roads.

28th Sep 1946:

Painting all day up to 6pm on The Man with a Sword.

It is in an awful mess, but will have to peg away at it.

29th Sep 1946:

The BBC 3^rdProgramme started tonight . . .

29th Sep 1946:

Started a small painting of The Dreamer, a sleeping figure in a cornfield.(finished 2^nd October 1946)

30th Sep 1946:

Painting in the morning. In the afternoon had four more teeth out, including three front ones which were eaten away at the roots. I hope this will make a difference to my general health.

3rd Oct 1946:

Nellie [old family friend] brought pears and grapes

I was so taken with them that I had to start a still life painting of them right away.” (Finished on the 6^th October)

7th Oct 1946:

Nevinson died today.

7th Oct 1946:

London

Went to see about repairs that want doing to the “Three Bridges”. Found it was the rubbed parts which are intended to be there, and in any case someone has varnished it, so nothing could be done.

8th Oct 1946:

NEAC Jury: Lord Methuen, G. Spencer, W. Dring, Guthrie, E. White, Cheston and Cundall on jury.

About 2,000 paintings to look through, a poor lot of work

9th Oct 1946:

Saw Gwen John’s memorial show.

Henry Moore’s show mostly drawings.

the sculpture more like window dressing models than anything else.

11th Oct 1946:

Mavis gave her first lecture at Lymington on ‘Design in the Home.’

Had my first set of fake teeth in! It seems a mouthful! Hope to get used to it.

15th Oct 1946:

Bought a wooden ladder to sit on when painting large canvases. It saves having to stand which is tiring.

16th Oct 1946:

A talk on the radio, Schools programme, about the 'Queen Elizabeth' from the ship itself. They said ‘you will hear the siren’. It blew, and then a few seconds later I heard it again coming across the water from Southampton.

After lunch Mavis and I went down to Hythe to see her off on her maiden voyage as a passenger liner. About 1,000 people on Hythe Pier. Craft of all kinds about, and planes of every description, including a helicopter hovering around. It was a grand sight. She steamed out most majestically sounding her deep siren in salute. Molotov and Bevin & co are all on board.

24th Oct 1946:

Frames of Cambridge pictures to G and Stone to be gilded. [King's Cambridge Looking Eastwards from the Backs and Trinity College, The Wren Library and River Cam]

Lunch with Devas. Victor Pasmore there in strange clothes like this: [see drawing!]

My seascape (winter) had sold at NEAC for £75. It looked bad I thought.

Got the huge carved frame on the car at G & Stone and came home in the dark most of the way.

3rd Nov 1946:

Collected about a stone of acorns in the Noads for the hens. When crushed up they should help considerably as there is precious little to feed them on.

3rd Nov 1946:

We decided we would purchase a piece of land from David [Mavis' brother] up on the Forest where we hope to build a house eventually.

Nothing came of this.

4th Nov 1946:

Started work on the Churchill painting for Westminster. I think there is a lot to be learned from it. To get the glow of the soft artificial light will be an interesting problem.

5th Nov 1946:

Digging in the garden for a bit to get cabbages in. Feeling better than I have done for a couple of years. The food shortage is going to be a problem more than ever.

30th Nov 1946:

With Mavis to the presentation of Knighting of Provost by old Etonians to the College. Sir Oliver Leese speech. Sir Jasper Ridley there and others. The “river overflowing and Eton practically cut off.”

2nd Dec 1946:

To Mayor of Westminster’s secretary for details for the picture of Churchill. Then to RA to see The King’s Pictures.

3rd Dec 1946:

Heard from Mariele [Maria Prinke, Richard's cousin] in Germany about terrible food shortage.

1st Jan 1947:

3 January

This day finds me still working and cursing over the two Cambridge pictures. [King's Cambridge Looking Eastwards from the Backs and Trinity College, The Wren Library and River Cam]

4 January

Still painting and cursing.

2nd Jan 1947:

Caroline’s party went quite well, but only a dozen small children make me wonder whether Heaven isn’t Hell.

12th Jan 1947:

Crispin staying with the Popes [Mavis' parents].

He told [Mrs Pope] indignantly that Caroline never did any housework! This being particularly amusing when one considers what he does!

17th Jan 1947:

In Cambridge

Had the grand experience of playing the organ of King’s College Chapel for two and a half hours (Buxtehude, Bach and Brahms).

17th Jan 1947:

K Harrison delighted with the two pictures and discussing another of the chapel by candlelight for next winter (£300)

22nd Feb 1947:

Have been painting snow scene during the last week, a memory of Pateley Bridge and round about. Hope to finish it later, but hardly feel it will be done in time for the RA

24th Feb 1947:

Weather is still punishing cold. This is the longest spell we have had in living memory. What with electricity cuts and gas and coal shortage, it makes things difficult.

4th Mar 1947:

2^nd anniversary of the death of poor Joanna [their daughter who died aged three months].

4th Mar 1947:

A bouncing daughter born at 10.30 am. She looks mature and hefty, the sort get to the front of the queue, put her foot in the door and get what she wants! . . . She looks a regular gorilla, puce coloured!

19th Mar 1947:

The floods in the Fens and other places are the worst in memory. The farmers say there will be no harvest this year if the water can’t be pumped away by mid-April.

23rd Mar 1947:

Digging the potato patch in the evening, Caroline on the swing keeping up conversation.

What has happened to the head of the statue? - I know, I suspect the fox took it when he got two of our hens!

28th Mar 1947:

Finished Churchill picture (33x44)

Very far from satisfied with it. Improvements would be wings sprouting from the little reporter on the right, turning him into the Recording Angel! And a few skeletons and skulls and other paraphernalia about.

29th Mar 1947:

Worked on Nightingale picture

31st Mar 1947:

. . . up to London by car with the Churchill picture. To Mr Keeling’s house . . .  Mrs K quite intelligent and everyone seemed to like it very much. He wants a duplicate to be made to have in his dining room and to have dinners under it.

15th Apr 1947:

The Queen Elizabeth stuck on the Brambles shingle off Calshot.

We went in the evening and witnessed the tugs getting her off after this morning’s attempt had failed. A grand sight, the fog coming on just as she got off.

20th Apr 1947:

Started painting on the Northern Landscape again [Northern Landscape (1947-68-75)]

24th Apr 1947:

RA elections

We managed to get Robert Buhler in which seems a good thing. I went to his house and left a note. Later saw him outside Chelsea Arts Club after Moynihan and others had been plying him with drink.

We then elected Bawden ARA. Munnings was livid.

11th May 1947:

Have been working on several small and started larger versions of paintings: Baptism, Harlequin, Refugee, Mother and Child, Drowning Man, The Nightingale,Man Asleep in Cornfield.

13th May 1947:

Someone is kicking up a fuss about their portraits in the Churchill picture. Keeling has been writing round telling people I will give them sittings to improve their likeness!

We have come to the conclusion that the portrait of Capes the mace-bearer has stolen the picture and that is the annoyance caused to the other sitters

15th May 1947:

Telegram from Nan Kivell saying there was an offer of £75 for the `Continental Port ‘ (40x50). I decided to accept this if he consented as the picture has been everywhere and we must get rid of it.

17th May 1947:

Had a dream that I took the robin’s eggs that are in the garage nest out, and found they were stamped:   ‘Robin-a-Thrush & Co.’

1st Jun 1947:

Started to paint a woman with baby in a field of buttercups. Have decided to paint what I like at weekends.

5th Jun 1947:

Cooler today. Yesterday the hottest ever. Got two food parcels off to Germany.

5th Jun 1947:

Crispin ill with ear infection at St George’s. Lasted until the 9th.

15th Jun 1947:

Crispin had earache all day . . . so Dr Walker came along to give an injection. [But Crispin was allergic to the penicillin]

15th Jun 1947:

Crispin sick! all over the bedclothes. I worked for hours on the girl in the buttercup meadow trying to keep it light.

17th Jun 1947:

Crispin much better. We went to Lyndhurst to get emergency card on his ration book.

18th Jun 1947:

Oxford to draw J N Bryson for Balliol picture.

15th Jul 1947:

Took Mother to York (to live) dropping Crispin at Harpenden on the way.

21st Jul 1947:

Moved my painting gear into the schoolroom as it is far too hot in the studio.

4th Sep 1947:

Mavis fell from loft and broke her elbow very badly. Stayed in hospital till the 10^th Sept. Caroline to Ashcrofts, Philippa to Meg. Crispin stayed at home.

20th Sep 1947:

Completed paintings this week:

Northern Landscape(28x36)
The Dreamer (cornfield) (24x32)
repainted Herzogin Cecilie (30x40)

25th Sep 1947:

London for portrait drawings. (Churchill improvements.)

27th Sep 1947:

Painted all day in the RA Schools and next morning. [We wonder if Richard had managed to have the Churchill painting moved to the RA Schools premises so he could do the repainting in London]

6th Oct 1947:

Varnished Churchill picture . . .

Delivered the painting to Westminster Hall the next day

8th Oct 1947:

Mavis went to Newtown to be with Vivien [her oldest friend] whose Mother was dying . . . stayed till the 15th!

[We are not sure what happened to us children. And then they obviously met up in London as they went to the National Gallery to see pictures which had been cleaned . . . "a great improvement".]

3 days later Vivien arrived to stay, 'in a nervous state and needing rest’.

8th Oct 1947:

Started painting of sherry glass and halved apple on saucer.(Finished on the 11^th October)

Had the Balliol picture photographed.

11th Oct 1947:

Began painting of dahlias in black jug with bird handle.

He finished it on the 13th

not very satisfactory owing to the flowers having faded and drooped

24th Oct 1947:

The question of lighting in the Massey Room is very difficult. There is next to no daylight, and the electric light by candle sconces round the walls.

24th Oct 1947:

Took Balliol picture to Oxford.

2nd Nov 1947:

Painted the subject of Excalibur as remembered at Catterick when I was a boy.

25th Nov 1947:

Went to Fawley Church to make drawings and get ideas for subject of Harvest Festival originally seen in Cornwall during the war. Started painting right away in the afternoon (50x30)

11th Dec 1947:

Leicester Galleries to see Anthony Devas show

I get the unfortunate impression that he is going downhill . . . 

Then to Pasmore’s exhibition at Redfern

First impression disappointing but it grows on one. Drawings very good.

12th Dec 1947:

Van Gogh show at Tate (100 paintings, 80 drawings)

. . . simply magnificent

Then to the really splendid Indian show at the RA. Hardly anyone there. The sculpture so grand.

Then in to Pasmore’s show again and thought it good.

12th Dec 1947:

Cambridge in afternoon, Evensong by candlelight.

13th Dec 1947:

Making notes for the painting of King’s chapel by candlelight. The windows are being put back and as the light dies the colour shows very slightly on stonework.

13th Dec 1947:

Most amusing comic party with Dons in the evening. Sat next to EM Forster. Rather shy. Not in bed till after 1am.

14th Dec 1947:

To service in the morning. Boris Ord played great Fantasia by Bach (in G). Sat up behind the choir.

14th Dec 1947:

Waxed the 2 paintings done a year ago.

1st Jan 1948:

Letter from Vincent Massey in Canada saying £400 too modest [for the Balliol picture], would pay £500 (including £60 for frame)

Money in the bank

. . . so I can work all this year on my own which I haven’t done for about 8 years. The interior of King's College Chapel is the only job I have in front of me.

2nd Jan 1948:

Mavis spent a long time making a tea for a children’s party. But the performance was not very elevating. Talk about ‘infantry at mess’! Caroline also behaved badly, I was resting on our bed and so fortunately missed the performance.

3rd Jan 1948:

The Chalice

Letter from Uncle Otto saying he’d had a letter from Maria Prinke suggesting we should give the chalice to Hans Müller.

Rather an odd idea . . .

. . . it is understood that it should be handed down from eldest son to eldest son in the Eurich family. And as it was the workmanship of a relative it is of great value to me.

[unknown date]:

During the 1st week of January Richard was not well. He had two visits from the doctor who eventually said he ‘thought it was just strain and overwork".

6th Jan 1948:

Reading Mendelssohn’s letters. So good. Keen insight and lively descriptions.

6th Jan 1948:

Painting all morning on the Excalibur picture which I began some time back. The trees overhanging the mere in the background are a trouble. Try to organize them so they mean something in the design and yet to get a hint of something mysterious.

16th Jan 1948:

Started small painting “Twelfth Night”. Hilary Dingle [Caroline's cousin] and Richards's daughter Caroline dismantling the Christmas Tree.

I am painting it for the gilt frame (elaborate) with an arc top size about 14x14. It will be interesting to get the painting at one with the frame.

17th Jan 1948:

Gerhard Ludwig, a German prisoner of war over to tea from the camp at Brockenhurst. We like him very much, a sensitive sort of chap. He has a son of four who he has never seen. He is due to go back to Germany next month . . . 

18th Jan 1948:

12^th Night not going very well

Have realized that I have no aesthetic sensibility which accounts for my difficulties, but I think construction and imaginative work is more interesting and enduring. Pretty colour values and tricky brushwork are not in my line, just as tricky reflected lights and tone values aren’t either.

23rd Jan 1948:

Took some time to rub down the big panel for the King's College Chapel picture with sandpaper. The ground seems pretty tough.

29th Jan 1948:

. . . I decided to start painting the chapel picture, and decided moreover that I should have to start at the floor and work upwards. More likely to get the key to both tone and colour this way.

1st Feb 1948:

Started painting the organ screen in the Chapel picture

3rd Feb 1948:

Old Mr Vincent [one of Mavis's relations]

wants me to paint a picture for the family with some of them (very small) in it. Rather a good idea. So we decided on £100 with frame extra. This will certainly come in very nicely if we are hard up in a year’s time.

7th Feb 1948:

Worked on the 'Harvest Festival' again (50x30). It looked awful when I got it out, made me feel no end depressed.

8th Feb 1948:

Decided that one of the things which has made the Harvest Festival not right in scale is that about 4” must come off the bottom, there being far too much floor. So started extreme alterations.

9th Feb 1948:

Working hard on H F (46x30) something seems to be getting going on it now.

10th Feb 1948:

Funny how Grock (the Dalmatian) lets a fart or breaks wind and he thinks something has bitten him! Jumps up with his tail between his legs and goes out of the room if the door is open, looks at the hearth rug to see if there is anything running about.

10th Feb 1948:

Started painting again on Excalibur. It seems everlasting, but the fact has to be faced that it is not what I want.

11th Feb 1948:

In the evening thought quite suddenly of another vision of childhood picture, sailing fireboats (paper) down a tunnel. Bradford Back perhaps. Boys watching them and gasworks etc coming up over the top of the coping – a good subject I think. [Paper Boats (1951)]

19th Feb 1948:

Painting all day on the old ‘Pears and Grapes’

22nd Feb 1948:

Walk with Grock in the snow:

Having observed the remarkable camouflage of animals in snow in patches, and having watched Mr Crouch’s cows in the heather and gorse, I decided to have a quick go at a picture of such, so started a 20x24 but did not get as far as I had hoped owing to bad light. [Winter Landscape 1948]

4th Mar 1948:

To Academy Hall for Modern Painting and Sculpture. Gertler

. . . too many Chiricos. Good Modigliani, Epstein’s Bernard Shaw, wonderful. The first Paul Klee originals I have seen. Poor Picasso’s. Good small Rouault and Chagall.

9th Mar 1948:

Working all day on Excalibur (never ending!) 

Finished on the 11th. [Remembrance of Things Past (1947)]

12th Mar 1948:

Took Harvest Festival and Excalibur along to Mudge at Fawley to be photographed for the press.

RA Illustrated is going to be issued again this year.

Painting again on ‘animals in the snow’.

16th Mar 1948:

Into Southampton.

The hairdresser told me there was a good show of French paintings at Art Gallery so I went there and found the Peto Collection on view.

The colour is all very beautiful and makes the pictures in the Gallery look very muddy. Even Kit Wood’s ‘Woman at Prayer’ looked dull, but I think the toplight has something to do with it.

17th Mar 1948:

Letter from ‘Life-Time’ [Time-Life?] to say that in Churchill’s memoirs they are reproducing in colour my painting in the Tate Gallery of ‘Survivors on Upturned Boat.’ [Survivors from a Torpedoed Ship (1942)]

20th Mar 1948:

David [Mavis' brother] and Doreen’s wedding. Caroline bridesmaid.

21st Mar 1948:

The visit of Rex Nan Kivell

. . . came down to see us in his huge Horch car. (The only one in England.)

21st Mar 1948:

Visit from Rex

. . .  I think he saw what I was getting at in my work, but is a bit puzzled by the added naturalism. Says the critics will be buzzing round! That remains to be seen.

22nd Mar 1948:

Putting glass on ‘Excalibur’ - packed this one, Harvest Festival and ‘Buttercup field’ (15x18) to take them to the Redfern ready for the RA.

. . .  Dorothy Searle thought they were a throwback to Victorianism. Rex still likes them but confesses he wants to giggle! Peter Cochrane a bit quiet and not sure what to make of them.

What I can’t understand is that they say the development is surprising. I am quite unaware of it and can’t see what the difficulty is. They seem to think in the atomic age everyone must do abstract work! But what reasoning there is behind this I don’t know. It seems to me to be a shelter for the incompetent and shallow-minded.

To the Tate to see Paul Nash memorial show

very good, some outstanding work, perhaps the ‘window’pictures.

23rd Mar 1948:

Crispin’s last day at St. Georges

. . . sorry to leave in many ways.

. . . Alternate friendship and quarrels with John Heaton upset him so. Heaton carries on as though nothing had happened and Crispin takes it to heart.

25th Mar 1948:

Started painting on a 20x30 canvas what I shall probably call ‘The Elysian Fields’, funeral procession through fields with haystack with figure recumbent on it.

28th Mar 1948:

. . . Later went to a cocktail party somewhat against my will at the Sanders. The place seemed to be chock-a block with stupid looking young men of 6ft 6”, and overdressed and made-up elderly women.

1st Apr 1948:

Journey up to York (with Crispin) by train to see Richard's Mother

tractors of brilliant colours working everywhere. Plenty of horse ploughs still, some fine horses.

5th Apr 1948:

Bus journey with Crispin and Jasper to Ilkley took 3 hours.

Crispin says all people here talk Yorkshire, but people in Hampshire, don’t all talk Hampshire . . . true.

9th Apr 1948:

Old Mr. Munt (a former mate of Aubrey Beardsley) is ill with pneumonia. [lived at 'The Cottage' opposite]

14th Apr 1948:

To the docks with Crispin and Mr. Blackhall

. . .  the graving dock with Arundel Castle being overhauled, saw 1^st flying boat come to its dolphin moorings by the Town Quay. Then we went onto the Queen Mary.

16th Apr 1948:

Crispin comes back from Brockenhurst Grammar School looking quite bright and chirpy, seems to find plenty to laugh at.

17th Apr 1948:

Painted organ case in the ‘Chapel’ but trumpet angels will have to be left till the roof is settled.

18th Apr 1948:

Started the vaulting in the ‘Chapel’ picture. Looks as if this part may take a month or so.

23rd Apr 1948:

RA elections

Margaret Fisher Prout got in but not William Roberts!

25th Apr 1948:

painting the ‘Chapel’ all day.

26th Apr 1948:

Silver Wedding of the King and Queen.  Official holiday.

26th Apr 1948:

We went to the sandpit on the way to Lyndhurst.

Made a drawing (preliminary) for a painting there.

27th Apr 1948:

Decided to put the ‘Chapel’ away for a bit to harden as the under painting rubs off when glazes are applied.

Started on 12^th Night again for Schools show at Tate in June.

30th Apr 1948:

RA Private View

On the whole we felt we didn’t want to come to a private view again

3rd May 1948:

Started painting seascape 20x24 probably called The Return ostensibly for Schools Exhibition next month.

5th May 1948:

Letter from Nan Kivell saying Cptn Newman had bought Remembrance of Things Past at the RA.

Very good news as I haven’t sold anything apart from commissions for ages.

7th May 1948:

Painting all day on ‘The Return, made no progress whatever. Most humiliating.

14th May 1948:

Started a small painting of 2 tigers for the Schools Show, but it may not come to anything.

25th May 1948:

Packed up 3 paintings for the ‘Paintings for Schools’ show at the Tate. The Return (seascape) 20x24, ‘12^th Night’ and ‘Tigers’

28th May 1948:

Painting all day on the ‘Chapel’ picture which looks as though it is slowly going ahead, as the tonality is all there. The thing is to indicate the structure as subtly as possible keeping the whole luminous with restricted colour.

3rd Jun 1948:

Working on the 20x16 version of Mother and Child started some months ago. ['Mother and Child (Study)' (1948)]

7th Jun 1948:

Stretched a few canvases including a 30x25 on which I started a grand subject suggested by Mavis and Caroline who are reading ‘Worzel Gummidge’ together – ‘The Battle of Scarecrows’. [Battle of the Boggarts (1948)]

9th Jun 1948:

Decided to accept the invitation of the council to be up for election as Fellow of the Royal Society of Arts.

12th Jun 1948:

Crispin and I went into Southampton

. . .  We went into the Art Gallery to see some watercolours, when to our great surprise Leonard Daniels was there. He has just got the job of principal of Camberwell School of Art. Says there are over 2,000 students altogether! We had quite a long talk . . . 

18th Jun 1948:

To London to fetch carved frame for Chapel picture

23rd Jun 1948:

Put aside ‘Battle of the Boggarts’ having been a fortnight at it which is quite quick for me.

25th Jun 1948:

Started a 16x20 of foal and mare outside a red brick air raid shelter [Strange Nativity (1948)]

26th Jun 1948:

Concert in the Cloisters at Beaulieu Abbey

. . . During the playing ‘off-stage’ of Debussy’s Syrinx for flute solo, a thrush flew down and listened, and chaps looking over the arched wall and small groups of girls listening made a curious picture of expectancy and wonder.

28th Jun 1948:

Amazing offer fron HH Newton to make a present of a new studio if I can get one built

What an offer! And what generosity! I hardly know what to say to him about it.

28th Jun 1948:

Began painting 14x20 of escarpment and sandpit near Lyndhurst done from drawing made a few weeks ago.

1st Jan 1949:

Painting all day trying to finish The Dancing Men [Dancing Men (1948)]

2nd Jan 1949:

Queen Mary aground in the gale off Cherbourg

3rd Jan 1949:

Letter from Daniels suggesting I should teach one day a week at Camberwell. After train fare and income tax not much left.

6th Jan 1949:

Working all day on repainting the larger version of The Dreamer in the Cornfield . . . Will have to be left in an unfinished state as there are much more important things to do.

7th Jan 1949:

Painting all day on the old Devon Landscape which has proved such a teaser.

10th Jan 1949:

Death of Tommy Handley [popular comedian known widely through his BBC radio programme]

I doubt whether Churchill himself could get as much publicity and indeed it is a loss that will be felt by millions including myself.

11th Jan 1949:

Took canvases to Redfern for March show. Press photographer snapped me looking at the Paul Nash show there.

13th Jan 1949:

Musing about the St Marie picture again! [La Fête des Saintes Maries de la Mer (1948)]

15th Jan 1949:

Started the picture probably to be called Mariner Dances (20x24) Finished on the 29^th January.

22nd Jan 1949:

H.H.Newton rang up to say he thought the Redfern Gallery dishonest. He said they sold a picture of his to a Scotsman for £25 but told him they had sold it for £15. I can’t understand this, and shall be glad to hear the result of his enquiries. I can’t believe that Nan Kivell would get up to any such nonsense.

29th Jan 1949:

Letter from Nan Kivell enclosing note from Newton about the sale of his picture for £16 instead of £25. As I thought, the full £16 was paid to HHN, being two thirds of £25. NK wants to know whether HHN has been talking to other people this way. I hope N isn’t going to get into a mental state. It would make things very awkward.

30th Jan 1949:

In the afternoon started Crispin working on a large chunk of teak to carve into a ship. I also had an idea I wanted to carve a high relief on a grand bit of wood we found on the Forest last year. Oh for a bit more time!

30th Jan 1949:

Started painting of Jonah 20x24

1st Feb 1949:

Mr Munt [a former friend of Aubrey Beardsley] died . . . shattering for his wife in hospital with a broken leg.

26th Feb 1949:

Have been working some time now on “The Chapel” again – whether I can finish it or not remains to be seen. Unfortunately it is the kind of thing that can go on for ever.

27th Feb 1949:

Nan Kivell came down in his car driven by his Arab youth to collect a few more paintings, as Wyndham Lewis may be sufficiently interested to write an article in The Listener. He liked the Chapel picture; I felt the other things were lousy. He said nothing is selling just now which is depressing.

28th Feb 1949:

Double page colour reproduction of the smaller ‘Dunkirk’ in today’s copy of “Life”  also smaller one of ‘Dunkirk Beaches’ in colour.

Painted hard all day on the Chapel.

Nan Kivell rang to say he could not find the large version of The Dreamer – I hope it turns up.

The article by W Lewis is “off’. I thought it would be.

5th Mar 1949:

Motored up to London, taking Mrs. Gubb [the Eurich's home help] and her son Bob up with me for their first taste of London.

. . . Had a pretty dreadful journey home. It started to snow, and ice formed rapidly on the windscreen, so had to get out constantly to remove it. Mrs Gubb and son enjoyed themselves evidently.

5th Mar 1949:

To London. Collected George Barnes’ picture from the BBC and took it and The Chapel and a flower piece to Redfern.

I felt very depressed, all the landscapes looked dreadful in colour, lacking in all delicacy.

Certainly the best there are The Boggarts, The Guy and The Sea Harvest which is fortunately one of the latest. NK seems to think it looks better than he expected and they have sold the Brixham Harbour at Night for £100, which at any rate makes a start, as things are evidently terribly tight just now.

Hardly feel I can face people at the Private View.” (8^th March 1949)

8th Mar 1949:

Preview at Redfern

Mavis seemed to think it quite good.

Presently our friends began to turn up. Bill and Molly Wilkinson . . . I was surprised when they decided to buy ‘The Guy’ (24x20) . . . Nellie [old family friend] purchased a [Flowers in a Silver Goblet]

. . .  Mavis left by train and I went on to Edward Le Bas’ studio to a meeting of ARAs to discuss suggestions for getting more power in the RA.

19th Mar 1949:

Rang up the Redfern to find out how things were going. Only the ‘animals in the snow’ has been sold since opening day.

28th Mar 1949:

Sending in day at RA. Redfern sent in Marine Harvest and Saintes Maries de la Mer.

2nd Apr 1949:

Buhler says

. . .  that my work looks very well and is much admired! Strange! He also says the general feeling among the painters is that it was refreshing to see someone working in their own way.

4th Apr 1949:

Capt Newman has bought little still life of sherry glass and apple, one of my favourites.

8th Apr 1949:

Went up to York on the through train with Crispin and Caroline.

They both behaved very well, Crispin looking out of the window at the tractors etc all the way. Caroline did drawings! which caused some amusement among the other passengers. A woman’s hat opposite inspired her to do an amusing concoction.

28th Apr 1949:

Heard the cheering news that two of my three paintings at the RA were sold on Private View day. 'Marine Harvest' to the Ferens Art Gallery for 100 gns. And 'The Battle of the Boggarts' to Captain Cunningham Reid for 150 gns

RA Banquet on radio.

Munnings quite uninhibited by the microphone, both he and Churchill sounded well oiled. Munnings attacked all Modern Art, and hit about him left and right.

5th May 1949:

At work on commission by old Mr Vincent, a dock scene which is also to contain small portraits of himself, Ben Vincent and sons.

7th May 1949:

Baby mule on the Forest. Evidently mules are very rare born in the open like this. Most of them come from Spain. It is certainly a strange little object, and it recalls to mind the donkey that made such a noise last year and led the ponies a devil of a life. They in their turn kicked him in the face unmercifully. But evidently he was persistent. There is a good deal of fun in the village about it. Evidently mules are very rare . . . 

15th Jun 1949:

Elections at the RA

H. Lamb and thingummybob elected RA.

15th Jun 1949:

To London, taking latest painting of The Ouse at York (12x30) to Redfern for their summer show.

Talked to Patrick Heron

I found we had more agreement over painting than I should have thought from his writing. But I am afraid I don’t like his painting, nor he mine! Had an interesting round of galleries with Ruskin Spear, a delightful chap.

16th Jun 1949:

On to see the Munich collection of paintings at the National Gallery.

I cannot understand the Rubens craze after seeing the Dirk Bouts Betrayal and Ascension of Christ. Three lovely Fra Angelicos, particularly one of a chap being flung off a cliff into the sea. I was interested to see Altdorfer whom I have only known through reproductions. A fine Jan Steen of ‘The Love-Sick Lady’ quite monumental and a Terborch of a boy picking fleas off a dog, quite entertaining. I suppose a magnifying glass was used, a buckle on the boy’s leg had three different high-lights on it.

16th Jun 1949:

Went to see Camberwell School of Art.

Painting seemed a bit sleepy for all the brilliant young men teaching there.

23rd Jun 1949:

Heard of the death of Edward Wadsworth (age 59). I am very sorry about this. We had a long and pleasant correspondence during the early days of the War - we disagreed about quite a lot, but had a great deal in common. I sometimes thought his judgement shallow, he preferred wit to profound thought so that the first impact of a work of art meant more to him than living with a work and feeling its greater depths. I liked his work of twenty or more years ago best - I remember with such pleasure a large tempera of Marseilles exhibited at a retrospective London Group show. The ranks of my friends seem to be thinning.’

12th Jul 1949:

Offered 2 days a week and an evening teaching at Camberwell. £300 a year. Coldstream now Slade Professor at University College making room for him . . .

14th Jul 1949:

Mark Gertler Memorial Show at Whitechapel

So depressing: the horrible ochre walls, all peeling, which don’t show off the paintings at all well. Much of his best work not there but some beauties all the same. I couldn’t help feeling angered by the whole business.

20th Jul 1949:

Started painting 17x21 interior with birthday tea-table for the Show for Schools in September “A study in pinks and greys.” [The Birthday Tea Table (1949)]

21st Jul 1949:

Plans for studio enlargement have been passed.

20th Sep 1949:

To Kilburn (Yorkshire)

got further ideas for painting of ‘White Horse’. Some trees in the foreground, and paint it broadly on a large scale. Mostly grey but a bit flat like a wall painting.

20th Sep 1949:

Stayed 3 days with Constance Pearson at Gordale. [wife of his old teacher at Bradford Grammar]

21st Sep 1949:

To Gordale Scar, climbed up the first waterfall and made a couple of drawings. Rain came on but I managed to continue up under some overhanging rock.

Then I discovered the rain had made the limestone very slippery, and rubber-soled shoes were the worst kind to have. I didn’t fancy going down so started climbing up the screes, not being able to see how far I had to go, footholds almost negligible. Sketchbook and haversack also a liability under the circumstances. I really thought my last hour had come! but struggled on.

The view back was somewhat terrifying - was glad when I emerged safely and found my way back along the top. The view down the scar from there was quite frightening.

22nd Sep 1949:

Spent all day wandering over the top of Malham Cove making notes of the construction, and wondering how to paint it. Some wild goats there. Looking down into the Cove, had the most frightening sensation of being sucked in, and retreated at once.

23rd Sep 1949:

To Gordale Scar in the morning and made a drawing at the bottom looking up through the watercourse. A long upright panel might be made interesting. The limestone here has more weathering on it than elsewhere, a slight warmth and darker tone creeping in.

[unknown date]:

Got Daniels to show me some of the ropes, and found myself more or less in charge of a class of 50 students drawing from life. Found it rather difficult at first, but think I shall get over my nerves and be able to help and enjoy things a bit.

In the evening class had about 15 students which made things easier, and found them rather an interesting lot.

1st Mar 1950:

New Studio finished

. . . the light is wonderful and certainly shows up the defects of my paintings.

Started work on the watercourse at Gordale Scar (40x40). It will be a rush to get it ready for the RA.

1st Jan 1951:

. . . got to work on ‘Kirkham Abbey’(30x50) which has been on the stocks for more than six months, and shows very little signs of improving or getting anywhere near what I want. [Kirkham Abbey on the Derwent (1951)]

7th Mar 1951:

Private View of my recent painting at the Redfern Gallery

. . . Quite a good turn up at the Redfern . . . Only one painting sold, and that at half price to a young man who has been saving up for a year to buy something of mine. He served an apprenticeship on a windjammer. The paintings are all fairly large so only a dozen are hung, and quite enough.

12th Mar 1951:

Called in at the Redfern Gallery in the evening after school. Nothing doing in the way of sales, which is very depressing.

Nan Kivell says there is a possibility of a commission to do a painting of Guy's Hospital - I hope it comes off. [nothing came of this]

The Society folk who are holding shows in the adjoining galleries are doing well after having thrown expensive cocktail parties.

15th Mar 1951:

My birthday. Had breakfast in bed. Philippa came in first with a red tie! A little later Caroline with another dark reddish tie, and a parcel from Nellie Topham [old family friend] with another red tie!. . . Crispin gave me a very fine drawing he had just done at the Southampton School of Art the Hythe Ferry yard full of interesting detail.

15th Mar 1951:

Working all day on painting (40x30) of ‘A Judgement’ of musical instruments. The idea is to get it finished for the RA if possible, as it might be a good seller.

The Times had a good notice of his show at the Redfern.

31st Mar 1951:

Finished ‘A Judgement’ after working hard at it every day since the 15^th March.

The weather has been absolutely frightful so I haven’t missed anything out of doors.

Redfern show closes today. Nothing sold.

31st Mar 1951:

Sending in day at the RA for members. Took in ‘The Judgement’. The frame certainly made a difference as I thought it would. Now we have to wait and see what happens at the RA.

3rd Apr 1951:

Felt terribly tired today and could hardly stand. After I had tucked myself up in the 6.30 train home, a face came down near mine from the corridor saying ”Would you care to come and have dinner with me?” It was Dr. Brierley. We had a good chat and certainly the feed did me good.

5th Apr 1951:

I started work in the garden, the first time for 9 months, and I felt pretty weary.

14th Apr 1951:

Vincent Poole, one of my students at Camberwell died, leaving a wife and two children.

The exhibition of students' work in the South London Art Gallery next door to the school of art was opened. And a good show it is too.

27th Apr 1951:

Elections at the RA

The PRA seems among other things to have got a new caterer, and wine flowed instead of beer. To begin with Sir Gerald Kelly told us we were not housetrained, for smoking before the King had been toasted. Then everyone waxed talkative and would not be kept in order. ‘Gentlemen, a lunch is a lunch and a joke is a joke, but we must get down to business!’ and I am still not sure whether I heard Sir Gerald kelly telling Ruskin Spear to stop kissing Laura Knight. After a great deal of trouble through about two and three quarter hours we elected Kennington, Greenham , and Lord Methuen as ARA.

27th Apr 1951:

RA Election.

Then to Redfern for final talk with Nan Kivell about Bradford Show (invited by the council, 70 paintings to go or be borrowed)

1st May 1951:

Asked by ‘The Sphere’ if they could reproduce my painting of ‘A Judgement’ in colour, full page. I said “yes!”

6th May 1951:

Off to York with 13 paintings. Picked up “Old Fawley Mill” from Olive Sampson in Leicester . . . 

7th May 1951:

Motored to Bradford with the 14 paintings, and had the experience of seeing about 70 of my paintings of the last 15 years together! What stands out a mile is that those which have been kept under glass, are in superb condition. Others are filthy, cracked and damaged.

After hanging was completed I started cleaning. Those from the Imperial War Museum were the worst: grease and dirt, damage and bird lime! ‘The Blue Barge’ appears to be as fresh as a daisy and in good condition.”

8th May 1951:

Working all day on this cleaning business. 

The Solent Fort looks fine in a magnificent frame which Nan Kivell has put round it for the occasion. The ‘Work Suspended, Winter’ from Hull looks in its clumsy way very good, and I can’t help feeling that the rather heavy paintings are my forte, the design being rather simple and impressive.”

17th May 1951:

Grock the Dalmatian is put to sleep.

1st Jun 1951:

Cartwright Hall: Met up with J.B. Priestley and Nan Kivell etc.

At the Town Hall “a certain ‘stickiness’ in the air as a result of JB’s new novel in which he guys town clerks etc.!” At the end of the day “ I presented him with a pipe. He replied that he knew if he came often enough he would get something! He purchased the little ‘Angry Clown’ saying ‘That’s what we all are.””

2nd Jun 1951:

Attended the York Mystery Play enacted in where John Kay acted Caiaphas. Entacted in St Mary’s Abbey Grounds.

Very impressive altogether

See 'York Festival Triptych' (1956)

16th Jan 1956:

Set off late (alarm clock didn’t work) to Camberwell taking pictures to Rex for next one man show (1^st Feb)

16th Jan 1956:

Having to fill in a form about his students’ aims. He said, and Philip Mathews agreed

. . . that we believed in students painting still life etc., with a view to discovering the design as they went along. That composition was something to be found out and not superimposed by theories etc.

16th Jan 1956:

Supper at CAC [Chelsea Arts Club] with Edward Bishop.

17th Jan 1956:

Camberwell in the morning. Talk at RA Schools in afternoon.

18th Jan 1956:

Mavis off to teach at Atherley School in Southampton. Caroline to Brockenhurst Grammar School. Richard for a walk with Star the red setter.

8.30 Crispin and Mavis leave in the car (Crispin to Art School). Philippa does piano practice and then R takes her to catch bus to school in Beaulieu.

18th Jan 1956:

 Then

got to work on the large canvas of York in Festival time which I started a week ago. [York Festival Triptych (1956)]

19th Jan 1956:

. . . Decided towards the end of the day that I must put the side wings of this triptych in, so as to give a general solidity to the whole thing, then the figures can be given their proper value.

29th Jan 1956:

Crispin has got down to his thesis for the NDD.

On Friday developed most painful rheumatics and sciatica in the right leg, could hardly move. Difficulty getting in and out of bed, had to ask for assistance when coming down stairs.

29th Jan 1956:

Painted all the same on the large York Festival canvas, but only making slow progress. The design, or general layout is done, apart from the figures.